I mean, making simulations of what you're going to build is tremendously useful if you can get feedback from them that will tell you where you've gone wrong and what you can do about it.

It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.

The difference between the novice and the master is simply that the novice has not learnt, yet, how to do things in such a way that he can afford to make small mistakes. The master knows that the sequence of his actions will always allow him to cover his mistakes a little further down the line. It is this simple but essential knowledge which gives the work of a master carpenter its wonderful, smooth, relaxed, and almost unconcerned simplicity.

We must face the fact that we are on the brink of times when man may be able to magnify his intellectual and inventive capability, just as in the nineteenth century he used machines to magnify his physical capacity. Again, as then, our innocence is lost. And again, of course, the innocence, once lost, cannot be regained. The loss demands attention, not denial.

The structure of life I have described in buildings - the structure which I believe to be objective - is deeply and inextricably connected with the human person, and with the innermost nature of human feeling.

I mean, making simulations of what you're going to build is tremendously useful if you can get feedback from them that will tell you where you've gone wrong and what you can do about it.

Most of the wonderful places in the world were not made by architects but by the people.